The Troubles officially ended with the Good Friday Agreement of 1998, but the conflict left such profound scars in the history of the region that making a film about Northern Ireland tends to almost automatically assume a discourse informed by division. The question that arises, then, is how this context may be tackled so as to simultaneously do justice to its traditionally rendered black-and-white reality and offer a more complex, contemporary understanding of the past that embraces reconciliation, openness and multiplicity of perspectives. Thus, the paper offers a close analysis of multiple types of division featured in Kenneth Branagh’s